| Title of the article: |
Symbols of world perception of P. Florensky art |
| Author(s): |
BUGAEV V. I. |
| Section: |
Theory and history of culture |
| Year: |
2016 |
| Issue: |
№ 2 (40) |
| Pages: |
219-224 |
| Index UDK: |
7.0 |
| Index BBK: |
85 |
| Abstract: |
The article studies the spiritual legacy of the prominent Russian philosopher P. Florensky, his attitude to symbol, to Russian avant-garde, west European art and orthodox iconography; the influence of his theory on criticism of modernism and post modernism. The golden time of theory of symbol and color by P. Florensky took place in the Higher art and technology workshops, where the artist V. Kandinsky and philosopher of P. Florensky taught. There were disagreements between them as for the nature of symbols of art. V. Kandinsky considered that in symbolism of art conscious activity must be turned off by the inspiration of artist. P. A. Florensky considered form and color creation in Russian avant-garde a lottery and destruction of symbol. He saw the symbol of nature in the indication of God’s love to man. A man in prayer glorifies the beauty of God’s nature. The way of understanding of the God’s formation of the world is in symbol. The symbol exposes divine color perception of spheres. A key term in the theory of color and symbol of P. Florensky is «corporeality of symbol». Light is the main element in the symbolism of color of the Universe. The God is light. There are two concepts ― thin dust of earth and thin dust of sky. The colors of sun color present modifications of these two concepts. The variety of colors is determined by the elements of both the world spiritual and metaphysical nonexistence — God, Sofia, Sun, thinnest dust, darkness of emptiness, absolute darkness. Theory of P. Florensky determined the ways of developing modern West European and East Europe art. |
| Keywords: |
symbol, corporeality of symbol, God, Sofia, thinnest dust, Russian avantgarde, light and color |
| Bibliography: |
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